A Quietus Interview:
Black Midi
Tome On The Range
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Tome On The Range
Burden of Proofs: Our New Regular Crime Fiction Column
I expect you're wondering why we’ve gathered you here today... ...Welcome to what we’ve decide...
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Tome On The Range
On The Ball & Off To The Ballet: Pat Nevin's The Accidental Footballer
What does Pat Nevin actually want from life? It seems everything that is decent, upright and tr...
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Tome On The Range
Space & Solitude: Grief In Jhumpa Lahiri’s Whereabouts
An unnamed narrator strolls across an unknown Italian city, interacting casually with nameless ...
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Tome On The Range
Strange Angels: Kristin Hersh On Music & Motherhood
In the brief biography on her Twitter account, Kristin Hersh describes herself as “musician, wr...
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Tome On The Range
Two Ears Are Better Than One: Gascia Ouzounian’s Stereophonica
The history of sound and music has often been told from the performer's point of view. Gascia O...
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Tome On The Range
The Sorrows Of Young Nick Cave: A Review Of Boy On Fire By Mark Mordue
Photo by Bleddyn Butcher To write about Australianness is a contradiction in terms, as one of t...
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Tome On The Range
The Whiteness Of Indie Rock: An Extract From Why Solange Matters
Solange performing at Coachella on April 19, 2014. Photo by NeonTommy CC BY-SA2.0 The whiteness...
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Tome On The Range
Infinite Continuous Nows: The Liminal Zones Of Izumi Suzuki
Photo credit: Nobuyoshi Araki According to Franco 'Bifo' Berardi, the future ended in 1977. “Th...
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Tome On The Range
“Make Something Out Of This”: Drumbo On The Making Of Trout Mask Replica
Of course, these weren’t “songs” in the sense of the conventional components (intro, verse, cho...
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Tome On The Range
No Beats, No Bloomsburys: Jonathan Meades Talks Blair, Brutalism & Benny Hill
Photo by Pablosievert. CC BY-SA 4.0 The last time I saw Jonathan Meades was in May 2018, in Le...
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Beatriz Ferreyra
Natalia Beylis
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Snapped Ankles
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